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So really quick recap (you can read further down if you're interested in how disastrous it was first)... you'll want to know that this is really just how I like to start/where I like to go with my footage. You may not agree, that is okay.

- Remove grey haze, overall color casts, green tint
- Find a black point, exploit it
- Highlight work, should bloom more, clip a bit easier (worked a long time to remove yellow clipped highlights, that was a big one over the year)
- Try to avoid Pink casts (didn't completely succeed here, you still get it at the top, but I prefer it to green so)
- As few adjustments as possible to balanced image, prepare for a look
- Skin skin skin skin skin. Respect the skin
- Adjust Reds and Blues. Reds... lost the battle on this one, I think I got it on the blues, though.
- Saturation, not over, not under, as right as possible on first application. Hit or miss here.

You will notice:

- it starts crushed and poppy. DO NOT BE ALARMED: all of your information is there
- Reds are crazy, you'll have to key them
- You may see some magenta, IMO it's easier to balance out when it comes to skin than green is. That's just me.

Thanks to Hook for helping me out to correct botched builds, and Dillon for calling my attention to the pink topside. Replace the LUTs with these completely

I've found that I like the WB Version for interiors, and exterior daylight the original/warm version.

Likely will add a sat curve in the next version. I've left the previous versions up for download as well below.

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UPDATE MARCH 26, 2014 -- BIG CHANGE

Adjusted 4K Trails and UE LUTs Notes

UE = Underexposed 4K footage

- Major Change to highlight range on both 4K LUTs
- Major Change to Highlight and low end range on 25KPC LUT
- Adjustment to overall gamma on 4K Trails UE and Standard.
- Adjustment to overall gamma on 4K Trails UE, slightly less crushed on the bottom end, more detail in shadows. Will have to decide how much noise you want to see.
- Cleanser being adjusted, no longer avail for a few days.

These will get updated as I work with the more, long process, and I'm actually planning to build looks off of this base, like a Kowa Lens look and something more muted/old cinema.

If you're feeling generous, I have a paypal: kholi dot hicks at gmail dot com

Thanks to everyone that sent stills/dpxs/dngs and offered advice/opinions, and MAJOR MAJOR thanks to Roman for grabbing so much footage, using his own footage to test with, and staying up at 2AM to listen to me babble about pink highlights

Read the thread if you want to see how not so awesome it was in the beginning haha.

Summary: Some of us thought BV1 images looked a bit "Smokey" or greyish, dull is a word? Even when they were vibrant. Goal of this LUT was/is to attempt to defeat that. Then some other goals came to mind.

The Name: PanaMojo refers to Panasonic Mojo, something DVXusers of old days said the DVX100 had, and the HVX200, but for whatever reason the AF100 lost. It also wasn't limited to those cameras, Varicam had it in my opinion, and so does the SDX900/HDX900.

The Varicam and SDX900 were used to shoot a lot of Beauty work, I really like the look, so that's what I went for.

Secondary goals:

[+] Offset BV1 inherent "green" cast, but try not to go too magenta.
[-] Vibrant Blue: can this be toned down in the LUT without taking a hit to color
[+] Far Red turns orange, can this be fixed in the LUT without sacrificing other colors
[+] Overall color separation so that primaries are more effective
[+] Works for ProRes AND RAW (Now has 3200, 4500, and 5200/5600 Input for ProRes)
[ ] More natural highlight roll off
[+] Use with other LUTs such as Juan Malera's converted Film LUTS, etc.
[ ] Use with ACES workflow
[ ] From LUT to Finished Image: as few nodes as possible (within reason)

Looks really good, thanks for your efforts!
I suppose you're going for a clean image to give the user the possibility to add more 'cinematic' grading later to personal taste?!
At least that's what I initially thought, 'deep, clean' image.

Kholi, I appreciate the hard work, and I'm looking forward to playing with it!
It looks to be a really solid place to start grading from. I'm anticipating lifting the blacks for my own tastes.
It looks like the crushed blacks is the most apparent stylistic leaning that the LUT has.

Looks really good, thanks for your efforts!
I suppose you're going for a clean image to give the user the possibility to add more 'cinematic' grading later to personal taste?!
At least that's what I initially thought, 'deep, clean' image.

I think PRIMARILY I'm trying to find more separation in the image. So yeah, attempt to define color and remove casts, while also...

Originally Posted by thinkingcloud

Kholi, I appreciate the hard work, and I'm looking forward to playing with it!
It looks to be a really solid place to start grading from. I'm anticipating lifting the blacks for my own tastes.
It looks like the crushed blacks is the most apparent stylistic leaning that the LUT has.

Finding a black point. When I think of crushed blacks, I think of crushed shadows which tends to not-look-awesome? But, having a defined black point, that is different. Things in the frame that are black (cloth) or deep shadow (like under the vehicle wheel well) should go black, or at least I think so. And, usable detail in shadows should be represented, while avoiding the lifted look that the original poster in the other thread commented on.

That's one of the goals, anyway. Whether or not I"m going to hit it? xD We'll see.

Oh and as far as cinematic grades or other looks in general, here are the same stills yet with Juan Melara's converted Kodak and Fuji LUTs, and Macgregor's F35 LUT without any adjustments to the nodes from the stills above (so just changing the 3D Output LUT, but 3D Input LUT's PanaMojo and keeping all adjustments the same):

Thanks Kholi. I really think the name of the game is going to be sharing LUT's between users. It takes the guess-work out of color correction and I think it's great for the beginner or intermediate user to help defeat the learning curve. IDK about you guys but I'm building a library out of these things.

A bit off topic, but on, is that Premiere accepts LUTs and Looks built in Speed Grade now and is finally a professional coloring solution. I've used a few examples and the results were solid.

i'll echo the sentiment that I can't wait to play with this either. i love the idea of an input lut to further play with pipeline. and i too am a huge fan of the panasonic mojo of olden days. so basically let er loose!